Wind-tossed evergreen boughs resemble flailing ghosts, an apple rolls right out of Eden (with the snake not far behind), and female sexuality is likened to a Satanic ritual-Albrun’s lonely nighttime masturbation giving rise to something monstrous and a three-way mountainside rape unfolding like an evil sacrament. Cheerful and golden-haired, Swinda provides a sharp contrast to Albrun’s dark brooding features but behind her bonhomie lurks something distinctly unpleasant, something born out of Christian prejudice and just as destructive as any witch’s curse… Storms howl and shadows crawl from every corner as Feigelfeld ups the creep factor aided by a score of atonal chants and grating bass rumbles. Now, several years later and still tainted by her mother’s legacy, Albrun along with her questionably conceived baby girl is living in a ramshackle alpine cabin with nothing but goats for companions-until she is befriended by a woman from the nearby village.
In the mountains of 16 th century Austria little Albrun and her mother live as social pariahs thanks to mom’s reputation of being a witch-and after mom is abruptly taken by plague Albrun is left to fend completely for herself. Hagazussa (Austria 2017) (6): In much the same vein as Robert Eggers’ The Witch and Rainer Sarnet’s November, Lukas Feigelfeld’s horror film weaves a dark fairytale aesthetic with long tracking shots and minimalist dialogue to tell the story of one young woman’s descent into madness-or damnation depending on which road you take. At least we’re treated to archival footage of the man himself as the final credits roll. Doss’ heroism, but in Mel Gibson’s hands his memory becomes a bombastic salute to the director’s own ego.
Doss was a modest man who held to his personal beliefs without proselytizing Gibson treads into religious infomercial territory with Garfield’s performance hovering somewhere between saint and saviour-cast as typical army brass bullies Vince Vaughn and and Sam Worthington play Caiaphas and Pilate to Garfield’s Christ, the evil Japanese become hellish demons, and one embarrassing scene of a stretcher being lowered against a sky ripped apart by heavenly sunbeams only needed a white dove and an angel or two to be complete. By all official accounts Doss was a pacifist who strove to heal rather than maim Gibson takes an orgiastic delight in meticulously staged battle sequences brimming with severed limbs and puddles of guts. But being a MEL GIBSON!! film it isn’t long before the hubris and overkill set in giving rise to some very uncomfortable contradictions.
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Doss’ early life is presented as a series of Norman Rockwell paintings-even his abusive alcoholic father (Hugo Weaving doing a Billy Bob Thornton imitation) is given a sheen of respectability once he dons his old WWI uniform-and Desmond’s budding romance with a local nurse (Teresa Palmer) unfolds with much sunshine and violins.
Director Mel Gibson’s biopic starts out sincerely enough with an Oscar-nominated performance from Andrew Garfield in the lead and a supporting cast of British and Australians giving passable American accents. Doss became the first Conscientious Objector to receive the Congressional Medal of Honor for his heroic actions as a medic in the Pacific where he saved an estimated 75 lives during the Battle of Okinawa alone, and he did so without ever touching a rifle as firing a weapon would have violated his religious principles-principles which almost got him court-martialed. Hacksaw Ridge (USA 2016) (6): In 1945 Private First Class Desmond T.
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